Mambo Timing

This post isn’t strictly about invigilation, but it does relate and I think is worthwhile.  Additionally, this topic is geared specifically towards collegiate and amateur syllabus dancers.

There is one crucial truth about Mambo that syllabus competitors need to know: if you dance on time, and are dancing something that resembles Mambo figures, you will probably advance rounds.  A couple dancing only a Mambo basic for a minute and a half, but perfectly on time, will likely be scored higher than a couple dancing more difficult figures and losing their timing.  I have heard a judge say on a coaching lesson that anyone who is on time in Bronze Mambo automatically makes the Finals. 

Why is Mambo timing so important?  Truthfully, timing is always important, but most couples quickly figure out how to accurately begin on the correct count in their other dances.  A couple who cannot begin on the correct count in Waltz, Rumba, etc., and is off time throughout the dance because of it, would certainly be marked down or not recalled.  With Mambo, everything is magnified by the unusual starting count – a much higher proportion of dancers end up off time than in any other dance in either style. 

So why in the world am I talking about Mambo timing on an invigilation blog?  How does it even relate? 

1.  Technically, by the exact letter of the invigilation rules for both NDCA and USA Dance, any couple who doesn’t “break” on two in Mambo is committing an infraction. 

But much, much more importantly:

2. No invigilator would ever call a couple up for breaking on the wrong beat in Mambo.

This situation highlights an important aspect of invigilation as a whole, which is that the essence of keeping a level playing field is reducing obvious advantages.  A couple who can dance higher level figures well has an obvious advantage.  A couple dancing – I hate to say it – poorly does not have an advantage over the other couples in their heat.

Learn Mambo timing well first, then build up your routine with figures (that you can still keep on time).  As with so many areas of ballroom dancing, simple things executed well are a better choice than difficult things executed poorly.

Corner vs. Side of Room Figures

Rules for syllabus Standard are probably the most cut-and-dry of any style.  (Not that I’m saying that they are always perfectly clear!)  American Style encompasses many different syllabi, and the Latin syllabus includes suggested alignments, amounts of turn, etc., but the Standard syllabus is very specific about what alignments, amounts of turn, and timings are allowed.  Furthermore, because of the progressive nature of Standard dancing, figures are designated as for use around a corner, along the side of the room, or both.

Many figures can be used both around/approaching corners and along the side of the room, though often figures change slightly in order to accommodate the differences.  Sometimes figures start out as a corner or side figure and only add the other option at a higher level.  (For example: a Whisk in Waltz, which can be ended DC only starting at Silver.  This is because there no figures are available to follow with at Bronze if the Whisk is ended DC.) 

Short of memorizing the entire Technique book, how can we keep straight which figures accomplish which goals?  Here is a short guideline that should help:

1. Chasse figures (including locks) generally don’t go around corners, which is due to the linearity of this type of figure.  An exception to this rule is the Tipple Chasse to R in Quickstep, which can be used around a corner in a variety of interesting ways.  It is worth noting that the way in which the Tipple Chasse takes the corner is by cutting across it, not dancing into and out of it.

   

2. Because chasse figures cannot, for the most part, go around corners, the often-used introductory Quickstep routine of dancing Quarter Turn to R/Progressive Chasse all the way around the floor is technically illegal.  Invigilation on a low level couple dancing this type of routine is unlikely – what would be the point?  However, it is important for couples to learn a cornering figure, like a Natural Spin Turn, as soon as they are able.[1]

3. Tango, especially at Bronze, is the most permissive Standard dance with respect to corners and sides.  Most figures can be modified for different areas of the floor, and inserting two Walks can clear up almost any alignment issues.  However, Progressive Links may not be over-rotated for getting around a corner, nor may Reverse Turns, Lady Outside or in Line. 

4. There is only one figure in the entire Standard syllabus that can only be danced in a corner.  Silver Foxtrot’s Hover Cross has no alternative versions.  You may not change its alignment or amount of turn, and therefore it can only get you into and out of a corner.

5. There is also only one figure that can go around two corners: Running Right Turn in Silver Quickstep.  Running Right Turn may be danced along the side of the room, around two corners, around one corner using the early section of the figure, OR around a corner using the later section of the figure.  

As a sidenote: Since American Style Smooth relies on restrictions rather than a set syllabus, it is easy to assume that alignments matter less than they do in Standard.  While it’s true that no rule provides basis for invigilating, say, a Chasse from PP around a corner, it is in a couple’s best interest to observe Standard conventions about alignments in Smooth dancing as well. 

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[1] As another example, beginner Foxtrot often involves using Feather Step/Three Step to get around the floor.  This is also illegal, though not because of corner issues.  Technically a Three Step is only allowed as a Follow to a Feather Step, not a Precede.  As with Quickstep, it is important to learn another figure (like a Natural Turn) as soon as possible in order to both legalize the routine and show a higher caliber of dancing.